2018

“Square Rounds” at the Finborough Theatre

7 September 2018 Edward Lukes

Examining conflict through science, in particular the chemistry behind World War I, Tony Harrison’s 1992 play is full of fascinating history. The research behind weaponry and drawn-out moral questions are consistently interesting: the work of Fritz Haber on both fertilisers and poisoned gas – and the Maxim brothers’ inventions – are stuff it’s unlikely you learned at school. Combined with a background of Imperialism and societal change (from women at work to spiritualism), Square Rounds is epic, even before you consider it is written in verse.

Introducing rhyme almost from the start, Harrison’s text cannot fail to impress. The use of language is joyous, which sometimes feels discordant given the subject matter. Rather, taking on science – pointing out its magical overtones – the lines issue a challenge as the lyrical work matches Rationalism with cunning and a ruthless edge. The play is remarkably cold, chilling at times, as it lays bare the inevitability of arms races or ironically sets out arguments for mad weapons in a logical fashion.

Some heart is added to the play with the relationship of Haber and his wife Clara Immerwahr, also a scientist, who argues against her husband’s collaboration with the Kaiser. It’s the strongest scene and has the best performances, from Philippa Quinn (pictured top) and Gracy Goldman, respectively. The production boasts all-female performers – a bold casting decision and a clever one – there are several scenes where the action is more layered as a result. The cast also doubles up effectively, and the multiple roles are tackled well, especially by Letty Thomas. The performers are not helped by an insistence on using the accents of various German and American characters. True, much is made of nationhood in the script, even some puns, but the delivery here is too broad and the result sounds forced. Thankfully, the technique isn’t adopted for a scene set in modern-day China (I told you the play was epic) and the result is much happier.

The question of accents aside – surely a misjudgement – director Jimmy Walters has a good go at matching Harrison’s wit and imagination. The production is clear and concise, the use of music more hit than miss, the set (from Daisy Blower), with its connotations of magic acts, is clever. If not quite the revival a play this strong deserves (it was originally staged at the National Theatre’s Olivier and its ambition calls out for a large venue), there’s plenty of talent to make this opportunity to see such an original piece worthwhile. There’s quite rightly a lot of commemoration of World War I in this anniversary year, but little of it has a perspective this novel or long-sighted.

Until 29 September 2018

www.finboroughtheatre.co.uk

Photos by S R Taylor Photography

2018

“Caterpillar” at Theatre 503

5 September 2018 Edward Lukes

Alison Carr’s new play is a finalist for this venue’s Playwriting Award – reason enough to recommend it. And it’s clear why judges were keen; this is a carefully written, cleverly modest drama of motherhood and mental health that poses important questions, albeit a touch too slowly.

Carr benefits from a classy production: a trio of strong performances, solid direction from Yasmeen Arden and skilful lighting design from Ben Jacobs. The story of Claire visiting her recuperating mother Maeve in the family-run B&B turns into a tale not about an elderly relative but the wellbeing of the younger generation. Both Judith Amsenga and Tricia Kelly depict Carr’s strong characters wisely: there’s just enough sassy humour in Kelly’s affable landlady, while Amsenga brilliantly controls Claire’s flares of anger and panic. These are strong, well-written roles.

Although the guest house is supposed to be closed, a competitor in the annual ‘Birdman’ hang-gliding competition arrives in the middle of the night. Simon comes with a backstory about his hopeful flight off a cliff being a memorial to a dead girlfriend. Impressively, metaphors are kept under control and the character serves as more than a foil to Claire’s depression. It’s a third role containing subtlety that, again, gets a superb performance, this time from Alan Mahon.

There are twists in Caterpillar that ensure you leave the theatre with plenty to think about. But the play spends too long pupating. Startling questions arrive late, so they can be little explored – particularly with Simon’s character. The finale is grim, but shocking rather than moving. While it’s commendable to tackle the subjects of suicide and self-harm without sensation, the structure of the play ends up uneven. Carr’s turns of phrase and a good deal of humour make these flaws easy to ignore, but they stop the play from really taking flight.

Until 22 September 2018

www.theatre503.com

Photos by The Other Richard

2018

“Six” at the Arts Theatre

3 September 2018 Edward Lukes

The so-bonkers-it’s-brilliant idea of Toby Marlow and Lucy Moss is to resurrect the wives of Henry VIII as a Spice Girls-style pop group in concert. The show’s hit status on the Edinburgh fringe and transfer to London as part of a tour confirms the concept’s appeal for many. And, if it sounds like a bad premise to you, trust me, think again and go.

From the start, a performance worthy of a crown from Jarneia Richard-Noel as Catherine of Aragon, with a Spanish beat, of course, will have you hooked. There’s a funny turn from Alexia McIntosh as a blingy Anne of Cleves and soulful sounds from Maiya Quansah-Breed to revel in. Marlow and Moss take pop seriously. And even if you find the music simplistic and derivative (yes, there is a riff on Greensleeves), it is effective and shockingly catchy.

The lyrics are sharp, smart and pun-packed. Getting the word ‘annulment’ in a song deserves a salute, making a rhyme for Leviticus requires a full genuflection in homage. The mismatch of history and contemporary references gets laughs from start to finish – the House of Holbein techno number had me in stiches. But note: the song for Katherine Howard, performed with gusto by Aimie Atkinson, tells a tale in text-book musical theatre style. Marlow and Moss really know what they are doing.

As well as the concert format, which clearly enthused the many teens in the audience, there’s another framing device used to ‘overthrow’ history as we know it. While the music is Eurovision, the idea is of a tasteless X Factor-style competition over which Queen should be favourite. And shame on me, I fell for it! As is stated, we all have our favourite, so the lovely ballad for Jane Seymour, beautifully performed by Natalie Paris, seems a naive view of the character. And a ditsy Anne Boleyn, while made nice and spikey by Millie O’Connell, surely doesn’t really do justice to Henry’s most political spouse?

Of course, the twist is that ranking victimhood is part of the problem and isn’t a game anyone wins. That Marlow and Moss use their remix of history to make a point so relevant to the present is their crowning achievement. Introducing some fantasy for a finale means the show ends jubilantly, as well as reminding us that these women’s lives were not happy. Add this intelligence to a score and sense of humour that show such promise and Six becomes very exciting indeed. There isn’t a bad song here and they crowd the mind to be recalled – surely the best thing you can say about any musical. This trip to the past shows an exciting future for its creative team.

Until 23 September

www.sixthemusical.com

Photo by Idil Sukan/Draw HQ

2018

“Love’s Labour’s Lost” at the Sam Wanamaker Playhouse

30 August 2018 Edward Lukes

One of the insights provided by the Globe’s indoor venue is the amazing acoustics early audiences could enjoy. You can hear a pin drop here; a treat used to great effect by composers James Fortune and Laura Moody, whose score is this production’s first triumph. Moody, performing her work alongside percussion and harp (Joley Cragg and Louisa Duggan, respectively), adds plenty of fun to Shakespeare’s comedy, but also a sense of experimentation and mystery – appropriate to an often puzzling play. And there’s a melancholy that understands the piece’s poetry. For the finale, a music box with a punched sheet echoes the letters that fill the play’s plot – as the paper floats around Moody’s head the look is magical, the sound haunting. I sincerely hope someone is planning to release a recording.

This cerebral play is not an easy one. Full of the conventions of courtly love, the wordplay is particularly dense. Even when parodying verbosity it is, well, verbose. It’s director Nick Bagnall’s achievement that a text neglected as unplayable feels so at home on a stage. Bagnall creates a sense of playfulness that makes this Love’s Labour’s Lost entertaining and enchanting. Toy soldiers, hobby horses to ride on and a dressing-up box create a storybook feel. The actors’ movements recall charades. It’s sweet but also sad, creating the perfect keys – major and minor – for a play where vows of chastity and love are not just celebrated but questioned, even deflated.

A sense of enjoyment in irreverence and exploration is embodied by the cast. Bagnall edits proceedings down to three couples who fall in love, but whose marriages are postponed, and they are performed with considerable fun but also an injection of cynicism. Leaphia Darko, Jade Williams and Kirsty Woodward all work hard to make a princess and her ladies-in-waiting real women. Although the roles are uneven, they feel like a matched trio. The “young bloods” who vow celibacy only to renounce it moments later are suitably ridiculous. There’s excellent comic work from Dharmesh Patel, Tom Kanji and Paul Stocker. A disguised appearance as a “mess of Russians” combines fantasy and farce beautifully.

Kanji and Stocker also impress as a vicar and tutor combo who Shakespeare mocks for their pretentions. This is a tough job – a lot of the jokes are arcane – but with just a touch of The Muppets‘ Statler and Waldorf, there are plenty of laughs. Nonetheless, the star turn has to be Jos Vantyler who gives an unforgettable performance as the Spaniard, Don “a mint of phrases” Armado. Vantyler’s comedy accent is superb, and that it isn’t to the detriment of the lines is a huge technical achievement. Accompanied by a page boy that we have to imagine (Vantyler gets his lines, too), he postures like a toreador and uses machismo to tip the performance into drag king territory. This fantastic interpretation is a further high note for this winning show.

Until 15 September 2018

www.shakespearesglobe.com

Photos by Marc Brenner

2018

“Home, I’m Darling” at the National Theatre

23 August 2018 Edward Lukes

While the culture of the 1950s has appeal for many, including a misguided political nostalgia, setting out to actually live as if in the period is the extreme scenario for Laura Wade’s new play. Trying to step back in time means buying not just retro wallpaper but also decrepit kitchen appliances for the stay-at-home wife to use. The idea is a novel, if flawed, way to question as well as mock those who idealise the past. Unfortunately, the play is really worth remembering only because of its brilliant performances.

Home, I’m Darling is essentially a romantic comedy about Judy and Johnny. Their decision to ignore the present day, and how their lifestyle came about, has some twists. And Judy becoming a housewife serves as a speedy springboard to consider women’s lives then and now. There’s also the theme of individuality – how many problems come from others’ perceptions of their eccentricity? It’s just a shame that all these themes feel tacked on.

If the questions and issued seem contrived and obvious, it’s still all wonderfully performed. Wade’s characterisation holds attention. Katherine Parkinson and Richard Harrington take the leads and manage to convince us that their marriage is special. Other parts are blatant foils but, again, the cast manage to make them work. The scepticism of Judy’s mother and Johnny’s boss leads to great dialogue and is superbly performed by, respectively, Sian Thomas and Sara Gregory. Meanwhile two friends, 1950s followers rather than fanatics, are satisfyingly filled out by Kathryn Drysdale and Barnaby Kay.

This is unquestionably Parkinson’s show. All too obviously, donning rose-tinted period spectacles is a distraction for bigger problems, and Parkinson suggests this depth better than Wade writes it. She makes you feel for Judy at every attempt to be an “angel in the house”. A constrained fragility is conveyed to perfection and incredible tension ensues over the smallest domestic tasks.

As the sexism of the past comes into collision with modern values, it makes us ask how much progress has been made. There’s a sexism-at-work subplot that is effective. But if not quite as laboured as housewifery, these points are long-winded and Tamara Harvey’s direction, with scenes slow to arrive, doesn’t help to inject urgency. Wade struggles with some virtue signalling about the scenario as a “luxurious” choice and the drama of hard economic facts impinging on a one-salary household. Ultimately, while the play has lots of good jokes (and looks great thanks to Anna Fleischle’s set and costumes), the idea doesn’t have enough scope to develop past a sketch or short story.

Until 5 September 2018

www.nationaltheatre.org.uk

Photos by Manuel Harlan

2018

“Much Ado About Nothing” at Gray’s Inn Hall

22 August 2018 Edward Lukes

Antic Disposition are an acclaimed theatre company who tour to gorgeous locations. Having shown this neat new production of Shakespeare’s romantic comedy in English cathedrals and at open-air venues in France – so the show is in tip-top form –their London sojourn marks a return visit for them to this beautiful Tudor hall. The location, alongside a production full of fun, makes the evening easy to recommend.

Inspired by the company’s travels, the play is relocated to France after the end of World War II. The move makes the most of an Anglo-French cast and aims to inject the bonhomie of a liberated nation with tricolour bunting and café style seating for some audience members. Several bilingual performers are impressive but there are some strong accents deployed by all the cast and some lines are lost. It’s a pity not to hear everything but all the performers make up for this with energy and élan. The trio of Beatrice, Hero and Margaret are played by Chiraz Aïch, Floriane Andersen and Molly Miles who make an impressively close team. Stiff upper lips abound for the English soldiers who come wooing: an idea that adds comedy to the performances from Nicolas Osmond as Benedict and Alexander Varey as Claudio, while resulting in a more prominent role than some productions allow for Theo Landey’s excellent Don Pedro.

French flair also aids the role of Constable Dogsberry (let’s be honest, those scenes are sometimes tiresome) whose malapropisms may now recall Officer Crabtree from ‘Allo ‘Allo although programme notes say the source is Jacques Tati. Either way lots of physical comedy allows Louis Bernard to get laughs and win over the audience. The company’s founders, Ben Horslen and John Risebero, co-direct the show with an eye on entertainment. An excellent score from Nick Barstow fills out both period and location, while calling on the ensemble to pick up their instruments further illustrates their talents and piles on winning charm.

Until 1 September 2018

www.anticdisposition.co.uk

Photo by Scott Rylander

2018

“Emilia” at Shakespeare’s Globe

16 August 2018 Edward Lukes

Ostensibly an historical biography of poet and proto-feminist Emilia Bassano, playwright Morgan Lloyd Malcolm and her director Nicole Charles have current times very much in mind for a play that’s about sexism and racism.

The key move is to use the fact that little is known about Bassano. If the name rings a bell, it’s as the reputed ‘dark lady’ of Shakespeare’s sonnets: the casting takes this literally to examine prejudices suffered due to race as well as gender. The wish is to reclaim women and minorities in history, and the result is unashamedly political.

The language alone tells you the target is the here and now. There’s talk of positions of privilege and mansplaining and, when it comes to dancing, they “slay”. Lloyd Morgan’s many eloquent turns of phrase include a motif of “uprooted growth” for Bassano’s African origins: a heritage that means she is used as a “curiosity” at court – a double whammy of abuse.

We get not one but three Emilias, who are all impressive. Led by a magisterial Clare Perkins, there are strong performances from Vinette Robinson and Leah Harvey, who work together to take us through the character’s life.

The all-female ensemble supports with vigour in a variety of roles, most entertainingly when taking on male parts. Sophie Russell’s Lord Howard is great, with a brilliant dash of Lord Flashheart from Blackadder. And we get to meet Will Shakespeare himself – a delicious performance from Charity Wakefield – who gets a poor rap considering he’s one reason we’re all sitting on the Southbank. Appropriating some of Bassano’s lines, he’s part of the problem, saved only by being amusingly ineffectual. Emilia is specially commissioned for The Globe, a scene is set in the theatre and Charles uses the space superbly – maybe the chance to resist bardolatry was irresistible.

It seems safe to say Lloyd Malcolm hopes to stir debate. Uncomfortable parallels with Elizabethan immigration policy are leapt on and Emilia’s wish for a “voice” is a recurring theme. There are some problems: religion is mostly omitted and considering class brings a lot of trouble. Emilia comes to see her own privilege and, as is de rigueur, has to be reminded that victimhood isn’t a competition by a circle of sisterly support, Yet with the working-class women Emilia befriends, somewhat miraculously, we are in tarts-with-hearts territory too quickly.

This is an openly angry affair and that may turn some people off. Yet the sense that theatre can do something, a calling to account and an empowerment, is sincere and moving. But it does have an unfortunate consequence. The play destines itself to fail as biography: the action is too brief, taking on too many key moments (a baby daughter’s death feels especially truncated), when fewer might have been addressed in more depth. The result is little sense of Emilia as an individual. The character can’t get away from the – always admirable – arguments. You can cheer along with many of the sentiments, but is there a question that Emilia is merely being used all over again?

Until 1 September 2018

www.shakespearesglobe.com

Photos by Helen Murray

2018

“Little Shop of Horrors” at Regent’s Park Open Air Theatre

15 August 2018 Edward Lukes

If this production is anything to go by, director Maria Aberg has green fingers – she nurtures this hit musical about a carnivorous plant from outer space marvellously.

Adapted from Roger Corman’s B-movie back in the early 1980s, Little Shop of Horrorsis a youthful work from the legendary Alan Menken, packed with musical ideas and barely a bum note. It includes the catchy-as-anything title tune, the brilliant romantic theme ‘Suddenly Seymour’ and the hilarious number ‘Be A Dentist’ – all of which you’ll be humming long after the show ends.

The book and onomatopoeic lyrics by Howard Ashman are great fun and there’s an underlying wit that continually impresses. The story of a freakish flower that changes the fortunes of its florist shop owners is told at a cracking pace, while the fact that growth comes at a price makes the piece a simple but effective morality tale. It’s quirky, dark, campy and cultish – all qualities appreciated by Aberg.

The mock low-budget design from Tom Scutt recalls the show’s Off-Broadway origins and original film source, full of anarchic energy and surprises – an achievement in such a polished production – and adds great charm. Scutt’s wonderfully detailed costume designs are fantastic, too, and his skyscrapers in shopping trolleys a nice nod to the skid-row setting.

Our hero Seymour isn’t really as sweet as he seems, or maybe he’s just dumb. Either way, Marc Antolin does a great job in the role, sounding great and with terrific stage presence. Jemima Rooper has a nice edge as his love interest and a trio of narrators (Renée Lamb, Christina Modestou and Seyi Omooba) are superb – each has real star quality. A couple of performances are too broad, mistaking the show’s fine edged comedy: Matt Willis’ dentist lacks thrills and Forbes Masson’s Mr Mushnik is reduced to a cheap gag.

It’s Seymour’s nemesis, the plotting plant he names Audrey II, that is the star. The clever move is to use not just puppetry here but to cast a drag queen in the role and Vicky Vox steals every scene – this Audrey II really reigns. You’re kept wanting more of Vox, leading to a truly spectacular encore number, including a new wardrobe for everyone, where the show’s crazy creativity is unleashed, making sure the audience leaves blooming.

Until 22 September 2018

www.openairtheatre.com

Photo by Johan Persson

2018

“The Importance of Being Earnest” at the Vaudeville Theatre

14 August 2018 Edward Lukes

A year-long season of Oscar Wilde plays, masterminded by Dominic Dromgoole, draws to a close with the biggest and best: the great man’s famous comedy of misconstrued manners and identities that everyone agrees is a masterpiece. All the productions from the Classic Spring Theatre Company have been fresh and intelligent, with a marked confidence in their material, and this show from director Michael Fentiman is no exception.

A talented cast is inspired to be bold. Fehinti Balogun has real star quality as a particularly dandyish Algernon, while his fellow bachelor Jack is played with amusing bluster by Jacob Fortune-Lloyd. Their love interests are both portrayed as formidable characters, with great performances from Fiona Button and Pippa Nixon. As for the older generation, looking on at the love affairs and ostensibly in charge, every line from Sophie Thompson’s Lady Bracknell and Stella Gonet’s Miss Prism is worth listening to, as Wilde pokes at any and all pretension.

This is as bacchanalian a production as you could wish for Wilde – full of food and sex. Compulsive eating is picked out; watching the cast manage sandwiches and crumpets while delivering such complex lines is its own pleasure. And while remaining credibly fin de siècle, these are the lustiest ladies you could get away with (Button’s “tremors” are beautifully delivered). Meanwhile Balogun plays Algernon with a polyamorous streak that’s blissfully naughty.

The production has a careful eye on class with the servants’ limited lines playing a big part. Algernon’s butler, Lane, becomes part of the family and benefits from a strong performance from Geoffrey Freshwater. Thompson’s Lady B is satisfyingly innovative: there’s no dithering about with that handbag line and there’s a touching moment at the plot reveal. Yes, no matter how silly, Thompson is right to bring a tear to her eye here.

A clean, clear look at a famous text, even one as perfect as this, is always good. The balance with retaining what made it a classic is perfect here. Perhaps the approach can be summed up with the complementary work on set and costume design from Madeline Girling and Gabriella Slade, respectively. The stage is almost bare, free of fussy period details, while the wardrobe is spot on and gorgeous. So there’s nothing to get in the way of the comedy. And nothing to deny the date of the piece either. It’s to Fentiman’s credit that his touches are thought provoking and respectful – and in every case increase the wonderful humour on offer.

Until 20 October 2018

www.classicspring.co.uk

Photo by Marc Brenner

2018

“The War on Terry” at the Landor Space

12 August 2018 Edward Lukes

Hugh Dichmont’s play is a monologue that cleverly combines the topics of mental health and bereavement. Balancing two such subjects, both of which make many feel uncomfortable, makes this an ambitious piece, which shows a bravery that is matched by hard work and talent.

On a too-brief visit to London, this production, from Nottingham-based Influencing Machine, is marked by a careful approach to the text and great attention to detail. Much to her credit, director Louisa Sanfey displays a sense of restraint without denying the script’s lyrical touches. An extended metaphor about mortality using ladybirds is simply and effectively visualised with red and black paper. The use of music, an important component in the plot, is understated and refined. And the piece is a marvellous showcase for the talents of its performer, Steve Conlin, who holds the audience from start to finish.

If there’s a flaw, it lies with Dichmont’s blokey humour. The generic lad jokes ring true enough but are too predictable. While I suspect the intention is to make his character Terry relatable, rather than get laughs the comedy puts a strain on his appeal to us. Conlin manages to draw back sympathy with a painfully depicted panic attack and the character’s brutal honesty. As we go deep into the “stabbing” grief brought on by the suicide of his older brother, a vividly depicted figure who is both loved and resented, Terry’s own pain and the “hate and pity” he feels for his parents become palpable. Delivering the detailed observations and poetic touches so well, Conlin guarantees this small play has a big impact.

Until 12 August 2018

www.influencingmachine.org.uk

Photo by Mark Dawson